I gave an abridged history of High On Fire when posting “Frost Hammer,” the lead single from the Oakland trio’s fifth album Snakes For The Divine, because they’re a band who inspire detailed contextualization. Not just because main man Matt Pike was a member of Sleep or that HoF’s released some certified classics (Death is […]
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High On Fire – “Frost Hammer” Video
Posted on 10 March 2010
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Darwin Deez – “Radar Detector” Video
Posted on 03 March 2010
From ace director Ace Norton comes this new video for New York’s Darwin Deez. Darwin Deez refers to the band, and to their insane-looking singer/songwriter, who also plays guitar for Creaky Boards (the band that may/probably weren’t ripped off by Coldplay). Despite appearances — and trust, it takes about 10 minutes to fully absorb appearances […]
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Paramore’s ‘Exception’ Video Features Fans’ Valentines
Posted on 18 February 2010
Band solicited homemade cards for clip.
By Kyle Anderson
Paramore’s Hayley Williams in “The Only Exception”
Photo: Warner Music Group
Paramore have been steadily evolving since their breakout album Riot! dropped in 2007. On their latest album, Brand New Eyes, their sound grows in multiple directions. The disc even features a rarity for the band: a ballad, called “The Only Exception.”
The group’s music videos have evolved as well, from the basic performance piece that was “Ignorance” to the more elaborate effects-based “Brick by Boring Brick.” Their latest video — for “The Only Exception,” which premiered on their official Web site on Wednesday — sees the band exploring narrative in a way they never have before.
The clip opens with singer Hayley Williams waking up on a couch next to a guy and writing a note that says “I’m sorry.” From there she walks to the next room and hugs a guy who, based on the lyrics, is probably meant to be her father. The video continues with Williams in her room staring into the mirror, singing about how love doesn’t exist. She then moves through a costume closet and into a restaurant set, where a rotating cast of guys pose as her date.
In a cool transition, she moves into the next room, where there’s a wedding — everyone thereis wearing white, but Williams comes dressed in black. She flees the scene when the bride enters.
During the chorus, the clip cuts to the coolest scene in the whole video: Williams sings (”Darling, you are the only exception”) while lying down on a giant pile of homemade Valentine’s Day cards (as opposed to the official Paramore Valentines). According to Williams’ Twitter, the cards were solicited by the band and sent in by fans.
In the video’s final moments, Williams spots her dream guy in the crowd at a rock show (the same dude she woke up next to in the opening scene), fantasizes about them together and makes her way back through the various rooms to the original set. She returns to the couch where dream guy is still asleep.
“The Only Exception” is Paramore’s most ambitious and mature video yet, matching its action to the advanced sentiment of the lyrics, which paint Williams as a cynic who doesn’t believe in love but is willing to make an exception for the right person. It’s another win for a band that just keeps coming up victorious.
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Haunting The Chapel No. 4
Posted on 08 January 2010
I included the longstanding occult black metal group Nightbringer’s Apocalypse Sun on the list of my 10 Most Anticipated Albums Of 2010 (scroll all the way to the end). I’ve heard a few complex, intense, buzzing tracks from it. Judging from those, the new collection, which follows 2008’s Death And The Black Work, will blow away everything else the Colorado group’s done to date. I spoke at length with frontman Naas Alcameth about the album and what went into it.
I also have great news to break about Nachtmystium’s forthcoming Addicts - Black Meddle Pt. II. Plus Haunting The Chapel on Fox News (?), among other things.
Continue reading Haunting The Chapel No. 4…
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Matt Damon ‘Honored’ To Be Named In Shakira Song
Posted on 09 December 2009
‘I couldn’t believe it,’ actor says of inclusion on ‘Men in This Town.’
By Jocelyn Vena, with reporting by Josh Horowitz
Matt Damon
Photo: MTV News
When Shakira sat down to write her song “Men in This Town,” she wanted to include her pal and former neighbor Matt Damon in the lyrics. The song, about trying to find the right guy in a sea of wrong guys, idealizes Damon as someone she’d like to date but isn’t meant to be with. “Is there a prince in this fable/ For a small-town girl like me?” she sings. “The good ones are gone or not able/ And Matt Damon’s not meant for me.”
When MTV News caught up with Damon at the “Invictus” junket, the Oscar winner revealed his feelings about being named on the track. “I heard about this. I know, I couldn’t believe it,” he said. “Somebody told me that recently. Shakira actually sent my wife and I her new [CD] with a sweet note. We know her and she’s great, and I’m honored to be in one of her lyrics.”
It’s easy for Damon to understand a woman like Shakira. His wife, Luciana, was born in Argentina. “Oh yeah, [I’m a fan],” he said. “I live in a Latin house. That’s just the way it is.”
Shakira recently sat down with MTV News to chat about the song and explained that Damon’s name was just the right fit for the tune. “I know Matt Damon,” she said. “I know him and his wife. It’s all good. This is a song and Damon really rhymed with the other word. Matt Damon is actually a terrific dude — I’m saying it in a good way. What I’m actually saying is there aren’t many great guys out there and Matt Damon is one of them. I love Matt Damon. He’s so great. He’s a good sport, too.”
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Lil Wayne Protege Gudda Gudda Introduces Himself On New Mixtape
Posted on 07 December 2009
‘Guddaville is just me expressing how I feel about a lot of different things,’ he tells Mixtape Daily.
By Shaheem Reid
Gudda Gudda and Lil Wayne
Photo: Young Money/Cash Money
This Week’s Main Pick
Street King: Gudda Gudda
Holding It Down For: Young Money/ Cash Money
Mixtape: Guddaville
Real Spit: New Orleans native Gudda Gudda has a bunch of superstars in his camp, including Lil Wayne, Nicki Minaj and Drake. Dude might be next in line to blow. Gudda, who’s been down with Wayne for around a decade, has been lacing family records like “Thinking to Myself” (his verse about Kunta Kinte steals the show!) “Bedrock” and “Every Girl” with his laid-back, spoken-word flow. This week, though, Gudda steps to the front with his own mixtape, Guddaville.
“The theme behind Guddaville, I’m taking people on a walk through my eyes,” he explained. “Every time you heard me been a group project. Guddaville is just me expressing how I feel about a lot of different things, taking you in my world.”
Gudda — a New Orleans native — has been mentored by Lil Wayne. Weezy liked his look and wrote Gudda his first rap. After that, though, Gudda stepped his game up through the years. He’s going to be good money on Young Money. One of Gudda’s biggest inspirations has been N.O. hero Soulja Slim. He shouts him and former Hot Boys member Turk out on the mixtape.
“Soulja, any young dude, period, not just a rapper, any young guy from New Orleans, he was like our ‘Pac. So, you know, we all look up to him. I had to acknowledge him. We bumped heads in a lot of different places. It was sad to see him go. I’m gonna continue to acknowledge him. As far as Turk, we speak at least twice a week from jail. I always holla at him. Turk will be home soon.”
You can download Guddaville on HotNewHipHop.com. You can also keep up with Gudda on his Twitter page.
Joints to Check For
» “Welcome to Guddaville.” “This is the intro to my mixtape,” Gudda said. “On that song, I’m venting a lot. Just letting people know what’s going on at the time. What I been going through. Different things with different people. I just let it all out on that track. I had to put that all on paper. This is a good intro into my world.”
» “Always Love You” (featuring Nicki Minaj and Short Dawg). “Me and Nicki was in the studio one night trying to get something going. We heard the Whitney Houston sample, pulled the beat up, and Whitney was on the sample saying, ‘I will always love you.’ The obvious choice would have been to speak on a female or dude. We was like, ‘Let’s speak on our cities and how much we love where we from.’ I was like, ‘We could get somebody else on it.’ I ran into Short Dawg. He was like, ‘Let me hear the joint. … I love it.’ He put a verse on it. We did it. New Orleans, H-Town, New York.”
» “Getting to the Money” (featuring Tity Boy). “Basically, I was in the studio, I heard the beat. Instantly, the hook popped up, the lyrics started coming. The beat, I just had to do it. I laid it down and said, ‘It gotta have that ATL flavor.’ I said, ‘Let me call my homeboy and see if he’ll jump on it.’ I hit Tity up, he sent it back two days later. The rest is history.”
For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines.
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Did Eminem’s Lyric About Adam Lambert Go Too Far? Fans Weigh In
Posted on 07 December 2009
Fan reactions to ‘Elevator’ span from ‘it’s very wrong’ to ‘it’s just lyrics.’
By Kyle Anderson, with reporting by Adam Murphy
Eminem
Photo: Frank Micelotta/Getty Images
Last Thursday, a pair of brand-new Eminem songs hit the Net, one of which, “Elevator,” contains a lyric directed at Adam Lambert, Lance Bass and Clay Aiken that may be using an anti-gay slur.
“Sorry, Lance, Mr. Lambert and Aiken ain’t gonna make it/ They get so mad, when I call them both fake/ It’s all these f—ing voices in my head, I can’t take it/ Someone shut that f—ing baby up, before I shake it,” he raps on the tune — with the “Fake/ It’s” combination sounding a lot like a common anti-gay slur.
This isn’t new ground for Slim Shady, who has come under fire from the Gay & Lesbian Alliance Against Defamation, which cited his use of anti-gay slurs on earlier tracks like “Criminal” and “Kill You.” But what do the fans think? MTV News hit the streets to find out.
“I mean, what else can you expect from Eminem?” said Matt Ray of Denver, Colorado. “It could be real offensive to some people, but it’s just lyrics.”
Rachel DiMasi admitted that she likes Eminem, but wished that he had picked a different target. “I think that it’s very wrong,” she said. “I love Adam Lambert and I think he’s a great artist.”
New Yorker Claire Henry doesn’t like Eminem using the word, but doesn’t think it’s actually malicious. “He’s just saying it to be offensive, to get a rise out of people. I don’t think he really means it. I don’t think he’s actually homophobic.”
Her friend Blair Gershenson didn’t see it the same way. “I don’t really like the lyrics at all,” she told MTV News. “I don’t think Eminem deserves a pass just because he’s famous. I think that he shouldn’t be saying these things and he should really understand who is out there and who is listening and the things that happen because of what he says.”
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Adam Lambert Recalls One-Night Stands With Help From Muse
Posted on 03 December 2009
Singer explains why ‘Soaked,’ written by Matthew Bellamy, resonated with him.
By Jocelyn Vena, with reporting by Jim Cantiello
Adam Lambert
Photo: MTV News
Adam Lambert worked with everyone from Rivers Cuomo to Pink to the Darkness frontman Justin Hawkins to “Idol” judge Kara DioGuardi on his new album, For Your Entertainment. But one song, “Soaked,” written by Muse singer Matthew Bellamy, felt especially personal for the “Idol” runner-up.
“Soaked to the bone/ And sink like a stone/ Walk home alone/ It’s not the first time/It’s not the worst crime/ Your soul will be OK,” Lambert sings in the track.
“I really related to the song, ‘cause my interpretation of the lyrics is, it’s kind of about getting wasted and having a one-night stand and that search for fulfillment of the void,” he told MTV News. “And how sometimes it doesn’t quite happen, but your soul will be OK. It’s not the first time it has happened and how it can kind of be a vicious cycle.”
Lambert said he could relate to that lonely experience. “Personally, for me, when I was singing, I was trying to put myself in that place … in a slightly darker time,” he explained. “[I remembered] how empty that can feel, and I got through it OK, but it’s a struggle. It sucks and you wake up the next morning [thinking], ‘Ugh.’ It’s about that chase.”
Lambert said he couldn’t believe that one of his favorite bands wanted to work with him. “When we found out that the Muse track had come in, I was floored,” he said. “I was so honored. Muse is one of my favorite bands. They’re incredible. I couldn’t believe they had they wanted me to record.”
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Lady Gaga Sings About Loving ‘Something Bad For You’ On ‘Monster’
Posted on 24 November 2009
‘It’s like being in love with the bad boy all the time, and you keep going back for more,’ she tells MTV News.
By Jocelyn Vena, with reporting by Sway Calloway
Lady Gaga
Photo: Bryan Bedder/ Getty Images
Lady Gaga is exorcising her demons on her latest album, The Fame Monster. One is her fear of death. Another is her fear of relationships, which she addresses on the song “Monster.”
“It’s the fear of attachment and the fear of loving something that’s bad for you,” she told MTV News about the track. “If you listen to the lyrics, it’s like being in love with the bad boy all the time, and you keep going back for more.”
In “Monster,” Gaga says she needs a stable relationship. “I keep falling in love with the monster,” she said. “But what I really need is the security and the safety and the womanhood, responsibility of my femininity. And so that’s what that song is about.”
Gaga recently told MTV News that her music and performances are on extension of her belief that as an artist, she lives her private life in the public world. “To me, being an artist is being private in public,” she explained. “So I’m being private in public every night, and all my monsters and my fears went leaping out of me and I just began to write.”
Sporting a pair of black sunglasses and a black jacket with shoulder pads the size of her head, Lady Gaga sang “Bad Romance” on Monday night’s “Jay Leno Show.” Male backup dancers dressed in black suits and S&M headgear helped remove her jacket after the first chorus so she could dance more freely, maybe too freely, as her low-cut tank may have veered into wardrobe-malfunction territory on a couple of occasions.
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Adam Lambert’s AMA Performance Divides Critics: From ‘Ultra-Lewd’ To ‘A Delight’
Posted on 23 November 2009
‘American Idol’ star’s slink through ‘For Your Entertainment’ was clearly not for everyone.
By Gil Kaufman
Adam Lambert performing at the American Music Awards on Sunday
Photo: Kevork Djansezian/ Getty Images
If Adam Lambert proved anything during his sexually charged performance at Sunday night’s American Music Awards, it’s that he continues to give good headline. The “American Idol” runner-up closed the show with a polarizing set that drew cheers, jeers and a lot of dropped jaws as he unveiled the title track from his major-label debut, For Your Entertainment.
With a kind of mash-up of the top awards-show shock moments from Britney, Madonna and Christina Aguilera over the past 15 years, complete with faux-oral sex (which was edited out of the West Coast feed), S&M play, bondage, crotch-grabbing, same-sex make-outs, serial hip-thrusting and even an accidental stumble, Lambert made it clear that he’s not the kind of safe pop star typically churned out by the “Idol” machine.
He also pre-emptively declared that anyone who criticized his display of sexual liberty was endorsing a double standard that says straight women can explore their (bi)sexuality onstage, but gay men can’t. However, not everyone agreed.
The Los Angeles Times’ awards-show blog, “The Envelope,” called the performance “ultra-lewd,” noting that “ABC censors had to quick-cut to an odd aerial shot of the audience when Lambert had a male backup dancer simulate oral sex on him mid-song.” (That bit actually aired on the East Coast feed, but was altered for the West Coast broadcast.)
While the blog went on to praise Lambert for making music dangerous again, the newspaper’s official grade of the performance was tied for the worst of the night at a D, with a critic noting, “Borrowing some of Rihanna’s shoulder spikes and torture devices, Lambert dragged women around onstage and got frisky with dudes, all in what seemed like an overly calculated way to show himself off as some sort of glam-gone-dangerous artist — and to instantly distance Lambert from the family-friendly ‘Idol’ fare … Lambert has the voice, and a charisma that stands out in today’s pop music landscape, but this was provocation by the numbers.”
The review from The New York Times was a bit more kind, saying that the “caterwauling ‘American Idol’ runner-up [will] never have to worry about being confused with Kris Allen after a performance that featured him walking a man and a woman around the stage on leashes, and thrusting his crotch at his various backup dancers.” E! Online was also relatively tame, calling the bit “extremely raunchy.”
The knives really came out at the usually “Idol”-friendly Entertainment Weekly, which took some issue with the bump-and-maul factor, but also took issue with the sometimes weak notes the typically powerful Lambert displayed during the bit. “Talk about ‘No Boundaries,’ ” wrote “Idol” expert Michael Slezak. “Adam Lambert made his first big post-’Idol’ splash tonight, closing the American Music Awards with a performance of his debut single ‘For Your Entertainment’ that — to my surprise and disappointment — emphasized shock-and-awe imagery over his standard-operating vocal excellence.”
Slezak referred to Lambert dragging a female backup dancer across the stage by her leg, “as if she were a lace-covered sack of potatoes,” grasping the head of a “submissive-styled” male dancer and pulling him into “an uncomfortable round of simulated oral sex” and “taking a break from his singing duties for an impromptu game of tongue twister with a keyboardist of indeterminate gender.” Slezak said he was hoping the primo slot on the show would be Lambert’s big coming-out party, and said that despite the musical theater veteran’s years of stage experience, he may have suffered from a bit of nerves.
“But the bottom line is that Adam’s AMA performance felt less like a genuine expression of his high-octane sexuality (so playfully erotic when he fondled the mic stand during ‘Whole Lotta Love’ this summer), and more like a carefully planned stab at dominating the post-AMA blogosphere/water-cooler discussion. … Adam could’ve had tongues wagging just from his vocals alone. Instead, that golden voice took a backseat tonight at the AMAs, and I’m not sure exactly who was occupying the driver’s seat.”
Slezak’s co-worker, EW TV critic Ken Tucker, appreciated his colleague’s take on the quality of the performance, but, as a TV viewer, he totally disagreed. “I thought Lambert’s performance was a gas, a delight, a blast of brash vulgarity in the midst of merely ordinary vulgarity,” he wrote Monday morning. “Lambert was an event unto himself. The song he was singing was beside the point — and the point was, ‘Here I am, Adam Lambert, freed from the shackles of ‘American Idol,’ I’ll push this dancer’s face into my crotch if I feel like it, isn’t it funny to lead human beings around on leashes, and can you believe how high I got my hair to stand up under these lights?’ ”
The point, Tucker said, was that the day after the awards show, which featured equally high-tech, eye-catching, if more nuanced, performances from Lady Gaga and Rihanna, Lambert is what everyone is talking about. “Using TV instead of music as a way for a singer to maintain prominence: how pure pop,” he said.
For his part, Lambert made no Monday-morning apologies for the spectacle, telling “Access Hollywood,” “You know, honestly, if I offended some people … it’s apples and oranges. I’m not an artist that does things for every single person. … I believe in artistic freedom and expression, I believe in honoring the lyrics of a song, and those lyrics aren’t really for everybody either.”
Besides, he said, shock is fun. “Shock rock is like something that existed, for example, like in the ’70’s, Alice Cooper … David Bowie, you had artists that liked to push the envelope and that’s what made them so fresh. I think that surprise is part of entertainment. I think that it keeps people watching. It’s fun, it makes you laugh and it should be that way. And if it made you uncomfortable, maybe I’m not for you.”
What did you think of Adam Lambert’s performance at the American Music Awards? Sound off below!
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